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Nicola Vicentino

While some of Vicentino’s functions survive in manuscript form aswell as two volumes of five-voiced madrigals and a reserve of five voiced motets, his musical legacy and main contribution to the annals of music is usually to be within “L’antica musica ridotta alla moderna prattica.” In the body of this function is his debate for the development of music from the historic church settings. Many were against this sort of considering in music and Vicentino publicly shown this issue with Lusitano in 1551. Vicentino also argued forcefully for the usage of chromatics as well as talked about microtones in his discourse. It had been because of the first quarrels by Vicentino and various other like-minded people that led to the introduction of constant tuning and eventual character. “L’antica” marketed the concepts of Boethius if they buy into the placement of Vicentino, and tackled vertical harmonies, enharmonic settings, a composing strategy and performance of the functions on the arcicembalo. It might be interesting to find what Vicentino’s educators and patrons considered his concepts. The ideas certainly weren’t popular but being truly a college student of Willaert and offering Ippolitto in Ferrara, Rome and Siena aswell as offering as the choir get better at at Vicenza Cathedral, the effect Vicentino got on his contemporaries will need to have been likewise revitalizing to them as his ideas had been to the excitement of new options for musical composition.

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